UM Oeesna tlc ural cma das10 2 14 v7 8 22 36 36 40 53 5a 58 n 72 76 7 88 92 105 108 110 121 122 126 139 140 144 156 166 157 158 Introduction Project Elements and Process Constraints and Options ‘The Circle and Composition Nonobjective Elements 1. Axial System Intreduetion Thumbnail Variations 2. Radial System Introduetion ‘Thumbnail Variations 3. Dilatational System Introduction ‘Thumbnail Variations 4, Random System Introduction ‘Thumbnail Variations 5. Grid System Introduction ‘Thumbnail Variations 6. Transitional System Introduction ‘Thumbnail Variations 7, Modular System Introduction ‘Thumbnail Variations 8, Bilateral System Introduction ‘Thumbnail Variations Acknowledgments Image Credits Selected Bibliography Index.‘Typographic Systems Introduction Alldesign is based ona structural system. These systems or frameworks. can be broken down into eight major variations with an infinite variety of compasitions within each system, Once essential visual organiza- tion systems are understood, the designer can fluidly organize words cor images within a structure, combination of structures, or create a variation of a structure. Typographic organization is complex because the elements are dependent on communication in order to function. Additional criteria such as hierarchy, order of reading, legibility, and contrast come into play. ‘The typographic systems are akin to what architects term shape gram- mars. Through shape grammars, styles are identified via rule-based compositional systems. These shape grammars are employed for both historic analysis of style end for design. The eight typographic systems are similar in that each system hes a set of rules thet is unique and pro- vides a sanse of purpose that focuses and directs the decision-making. ‘The resulting design becomes a visual language based on the shape grammer. Curiously, itis this focus and the restraint of the system that ‘encourages creativity as the designer explores composition. Student designers at first find the systems strange and ewkward be- cause they rarely see them in print or screen communications, However, as work develons, an understanding ofthe system emerges that enables the creative potential of the system to be realized Many designers focus primarily on the traditional grid system for design and are unaware of the potential that ather systems hold for the graphic designer. The visual examples illustrate a broad range of design solu- tions and give designers, educators, and students insight into expanding their knowledge of organizational approaches to typographic design well beyond the grid Kimberly Elam Ringling School of Art and Design Daputnan cl Grice cv Communion samsta, Foida &